How Romeo Hunte Is Quietly Redefining What It Means to Be an American Brand

Romeo Hunte’s journey since launching his namesake label in 2013 may have been impressively considered, but even he wasn’t prepared for the challenges that the current pandemic would bring. Hunte says, “There were a lot of ups and downs over the past few months. My grandfather passed, and a few other members of the team had family members pass too. We just kind of huddled together, working from home, working very odd hours, and I think it built us up to be a stronger team—as a family, we understood everyone's going through this, and were always checking in on each other.”

After all, if there’s one thing that defines Hunte’s ascent since launching his label in 2013—aside from his signature deconstructed outerwear—it’s the strong sense of community he’s developed. This doesn’t just include the illustrious list of celebrities, from Beyoncé to Zendaya, who have stepped out in his pieces, but the regular clients for whom he makes custom looks on a made to order basis. “We really don’t like to waste, so that on its own meant we weren't sitting on stock,” he says. “We started asking, what does our customer actually want right now?” The natural answer, aside from the more flamboyant pieces still available on his website, was a range of face masks—a product that, for Hunte, fulfilled more than just a practical need. “The feedback from the masks has simply been that they’ve brightened up their day when they come in the mail, and I felt that’s the best thing I could do at this moment.”

As Hunte and his team began to plan their next steps post-lockdown, however, another national tragedy occurred; namely, the killing of George Floyd. Throughout the Black Lives Matter protests that followed, Hunte has been keenly observing the fashion industry’s reckoning with its historic underrepresentation of Black designers and creatives. “I think there’s a lot more work to be done,” Hunte says. “When I was a child, fashion was something that I always dreamed of doing, but it's challenging to step into an industry and feel like there aren't that many people that look like you, or share the same inspiration, to feel like you’ve been in the industry delivering each season and it’s overlooked. A lot of things are not so inclusive as they're promoted, sometimes it feels like, as a designer, you only really get noticed during Black History Month on those things. It can be frustrating, but I think I’ve learned to try not to bring emotion into the business. Hunte says, “I'm just hoping that it opens up doors for younger designers to feel like there's a place for them. Not just me, but the Kerbys, the LaQuans, the Victors, and the Telfars of the world. We can inspire a whole generation of designers to feel like: Wow, I could actually do it. When I was a young designer, I didn't have that many designers to look up like to really inspire me.”

In These Uncertain Times, Victor Glemaud is Still Hoping to Inspire People.

Safe to say, 2020 has been an interesting year. From COVID-19, to the unjust murders of George Floyd and other black people, most people aren't feeling that great.

Fashion designer, Victor Glemaud, has been working from his home for the past three months. Glemaud looks back amazed that his business has been able to adapt so quickly. “At the beginning, it was challenging because it was all so uncertain,” he says of the early days of lockdown. “I’ve done fittings virtually before, I’ve done sketch handoffs and line reviews virtually before, so it wasn’t about it being difficult to adapt. It was more getting used to the idea of not knowing when we would work together again, and when we would see each other again.”

Glemaud's biggest challenges have been more on the personal end, than on the business end. With his business celebrating 15 years soon, Glemaud started his career working with Patrick Robinson in New York. Glemaud later went on to work in PR for the likes of Versace, Marc Jacobs, and Helmut Lang, before returning to consult with Robinson during his time at Paco Rabanne, then launching his own label in 2006. After rebranding with a more stripped-back approach in 2015, Glemaud began focusing primarily on the bold, brightly-colored knits that have been a resounding hit with his long-time customers. They’ve also earned him a place as a finalist for the 2017 CFDA/Vogue Fashion Fund and resulted in his first runway show back in February of this year.

While the development of his spring 2021 collection has been a little more tricky—Glemaud notes the technical intricacies of producing knitwear are more difficult to test without seeing the garments in the flesh—he has still been managing to find inspiration in less likely corners.

“Normally what I do is go to galleries or museums and get inspired or see so “Normally what I do is go to galleries or museums and get inspired or see something that sparks something that way. Since I can’t do that, I’ve been reading a lot more. It’s been more of a fluid process.”

When asked how the fashion industry can support black lead brands and businesses, Glemaud said, “I think it’s about having our industry truly support Black-owned businesses by paying us, by promoting us within their channels,” he continues. “Not just today or tomorrow, not just a tag here or there, but showcasing work in a meaningful way, really being true partners. Whether it’s a retailer, an editor, a stylist, a production partner. Things that are needed to actually grow a business. Things that a lot of young creatives that I’ve spoken to recently in the last two weeks have felt and have all told me they don't have access to.”

Report: Anna Bechtel